I, player : the puzzle of personal identity (MMORPGS and Virtual Communities) -- The game inside the mind, the mind inside the game (The Nintendo Wii Gaming Console) -- Realistic blood and gore : do violent games make violent gamers? (First-person Shooters) -- Games and God's goodness (World-builder and Tycoon Games) -- The metaphysics of interactive art (Puzzle and Adventure Games) -- Artificial and human intelligence (Single-player RPGS) -- Epilogue: Video games and the meaning (...) of life. (shrink)

While video games have blossomed into the foremost expression of contemporary popular culture over the past decades, their critical study occupies a fringe position in American Studies. In its engagement with video games, this book contributes to their study but with a thematic focus on a particularly important subject matter in American Studies: spatiality. The volume explores the production, representation, and experience of places in video games from the perspective of American Studies. Contributions critically (...) interrogate the use of spatial myths ("wilderness," "frontier," or "city upon a hill"), explore games as digital borderlands and contact zones, and offer novel approaches to geographical literacy. Eventually, Playing the Field II brings the rich theoretical repertoire of the study of space in American Studies into conversation with questions about the production, representation, and experience of space in video games. (shrink)

The most cursory look at video games raises several interesting issues that have yet to receive any consideration in the philosophy of art, such as: Are videogames art and, if so, what kind of art are they? Are they more closely related to film, or are they similar to performance arts, such as dance? Perhaps they are more akin to competitive sports and games like diving and chess? Can we even define “video game” or “game”? (...) We often say that video games are interactive, but what is interactivity and what are the effects of interactivity on eliciting emotional responses from players? (shrink)

How can _Wii Sports_ teach us about metaphysics? Can playing _World of Warcraft_ lead to greater self-consciousness? How can we learn about aesthetics, ethics and divine attributes from _Zork_, _Grand Theft Auto_, and _Civilization_? A variety of increasingly sophisticated video games are rapidly overtaking books, films, and television as America's most popular form of media entertainment. It is estimated that by 2011 over 30 percent of US households will own a Wii console - about the same percentage that (...) owned a television in 1953. In _Philosophy Through Video Games, _Jon Cogburn and Mark Silcox - philosophers with game industry experience - investigate the aesthetic appeal of video games, their effect on our morals, the insights they give us into our understanding of perceptual knowledge, personal identity, artificial intelligence, and the very meaning of life itself, arguing that video games are popular precisely because they engage with longstanding philosophical problems. Topics covered include: * The Problem of the External World * Dualism and Personal Identity * Artificial and Human Intelligence in the Philosophy of Mind * The Idea of Interactive Art * The Moral Effects of Video Games * Games and God's Goodness Games discussed include: _Madden Football_, _Wii Sports_, _Guitar Hero_, _World of Warcraft_, _Sims Online_, _Second Life_, _Baldur's Gate_, _Knights of the Old Republic_, _Elder Scrolls_, _Zork_, _EverQuest_ _Doom_, _Halo 2_, _Grand Theft Auto_, _Civilization_, _Mortal Kombat_, _Rome: Total War_, _Black and White_, _Aidyn Chronicles_. (shrink)

Is it ever morally wrong to enjoy fantasizing about immoral things? Many video games allow players to commit numerous violent and immoral acts. But, should players worry about the morality of their virtual actions? A common argument is that games offer merely the virtual representation of violence. No one is actually harmed by committing a violent act in a game. So, it cannot be morally wrong to perform such acts. While this is an intuitive argument, it does (...) not resolve the issue. -/- Focusing on why individual players are motivated to entertain immoral and violent fantasies, Video Games, Violence, and the Ethics of Fantasy advances debates about the ethical criticism of art, not only by shining light on the interesting and under-examined case of virtual fantasies, but also by its novel application of a virtue ethical account. Video games are works of fiction that enable players to entertain a fantasy. So, a full understanding of the ethical criticism of video games must focus attention on why individual players are motivated to entertain immoral and violent fantasies. -/- Video Games, Violence, and the Ethics of Fantasy engages with debates and critical discussions of games in both the popular media and recent work in philosophy, psychology, media studies, and game studies. (shrink)

I argue that by any major definition of art many modern video games should be considered art. Rather than defining art and defending video games based on a single contentious definition, I offer reasons for thinking that video games can be art according to historical, aesthetic, institutional, representational and expressive theories of art. Overall, I argue that while many video games probably should not be considered art, there are good reasons to think (...) that some video games should be classified as art. I also show that the debates over the artistic status of chess and sports offer some insights into the status of video games. (shrink)

Historically, video games featuring content perceived as excessively violent have drawn moral criticism from an indignant (and sometimes, morally outraged) public. Defenders of violent video games have insisted that such criticisms are unwarranted, as committing acts of virtual violence against computer-controlled characters – no matter how heinous or cruel those actions would be if performed in real life – harm no actual people. In this paper, I present and critically analyze key aspects of this debate. I (...) argue that while many ethical objections to playing violent video games seem to miss their marks, there is sufficient reason to take modest steps in order to address the concerns that theorists have raised. (shrink)

Terra nova 2.0 -- The real problem -- Social contract 2.0 -- In the face of others -- Open-ended conclusions.

This essay proposes an alternative way of studying video games: as thought experiments akin to the narrative thought experiments that are frequently used in philosophy. This perspective incorporates insights from the narratological and ludological perspectives in game studies and highlights the philosophical significance of games. Video game thought experiments are similar to narrative thought experiments in many respects and can perform the same functions. They also have distinctive advantages over narrative thought experiments, as they situate (...) counterfactuals in more complex, developed contexts and present them to players who are participants in game worlds, rather than simply observers. (shrink)

Video games fictions are interactive: some of the content is set by the game designer and some is set by the player. However, philosophers disagree over how this interaction is reflected within the fictional content of video games. First, I will show that games and playthroughs are two distinct works of fiction with their associated fictional content. Second, I argue that players engage with both fictional works when playing a video game. They imagine the (...) fictional truths associated with the game and those associated with their playthrough. Thus, I defend what I will call a Dual-Work View of our engagement with video game fictions. To do so, I show that games have accessible fictional content, that games are distinctively incomplete fictions, and that players engage with this distinctive incompleteness. My goal is to offer a clear account of the fictional content of video games. (shrink)

The World is Born From Zero is an investigation into the relationship between video games and science fiction through the philosophy of speculation. Cameron Kunzelman argues that the video game medium is centered on the evaluation and production of possible futures by following video game studies, media philosophy, and science fiction studies to their furthest reaches. Claiming that the best way to understand games is through rigorous formal analysis of their aesthetic strategies and (...) the cultural context those strategies emerge from, Kunzelman investigates a diverse array of games like The Last of Us, VA-11 Hall-A, and Civilization VI in order to explore what science fiction video games can tell us about their genres, their ways of speculating, and how the medium of the video game does (or does not) direct us down experiential pathways that are both oppressive and liberatory. Taking a multidisciplinary look at these games, The World is Born From Zero offers a unique theorization of science fiction games that provides both science fiction studies and video game studies with new tools for thinking how this medium and mode inform each other. (shrink)

Video game spaces have vastly expanded the built environment, offering new worlds to explore and inhabit. Like buildings, cities, and gardens before them, these virtual environments express meaning and communicate ideas and affects through the spatial experiences they afford. Drawing on the emerging field of embodied cognition, this book explores the dynamic interplay between mind, body, and environment that sits at the heart of spatial communication. To capture the wide diversity of forms that spatial expression can take, the book (...) builds a comparative analysis of twelve video games across four types of space, spanning ones designed for exploration and inhabitation, kinetic enjoyment, enacting a situated role, and enhancing perception. Together, these diverse virtual environments suggest the many ways that video games enhance and extend our embodied lives."--Publisher's website. (shrink)

Can video games teach students about the history and philosophy of science? This paper reports the results of a study investigating the effects of playing an educational video game on students’ knowledge of Galileo’s life and times, the nature of scientific evidence, and Aristotle’s and Galileo’s views of the cosmos. In the game, students were immersed in a computer simulation of 16th century Venice where they interacted with an avatar of Galileo and other characters. Over a (...) period of two weeks, 71 undergraduates were exposed to lectures about Galileo and the Copernican revolution in a traditional classroom setting. However, only half of the students also played the game. The other half were only exposed to lectures. The knowledge of both groups was assessed at the beginning and end of the two-week period. The results demonstrated objective improvements in knowledge for the experimental group while the control group showed virtually no change. Implications of these findings for teaching and learning the history and philosophy of science are discussed. (shrink)

Gaming and the Virtual Sublime considers the 'virtual sublime' as a conceptual toolbox for understanding our affective engagement with contemporary interactive entertainment.

What makes video games unique as an audiovisual medium is not just that they are interactive, but that this interactivity is rule bound and goal oriented. This means that player experience, including experience of the music, is somehow shaped or structured by these characteristics. Because of its emphasis on action in perception, James Gibson’s ecological approach to psychology—particularly his concept of affordances—is well suited to theorise the role of music in player experience. In a game, players perceive the (...) environment and gameplay situations in terms of the goal-oriented actions they afford. Nondiegetic music, not tied to any place in the digital game world, can play a unique role in the structuring of these affordances. Through a series of case studies, I will show that music creates and structures situations both in the game environment (such as the appearance of enemies in Unreal) and beyond the game environment (such as the death of an avatar and the restart of a level in Super Mario Bros.). (shrink)

Jon Robson and Aaron Meskin have argued that the insights obtained through the philosophical analysis of video games is not specific to video games, but to a larger class of artistic creations they term Self-Involving Interactive Fictions, or SIIFs. But there is at least one aspect of SIIF video games that is philosophically interesting and does not apply to the class of SIIFs as a whole, the ability to represent non-classical time. If SIIF (...) class='Hi'>video games are considered to be an extension of the art form of graphic narrative story-telling, the art form dominated by film, then the ability to represent time in in this fashion represents a revolution akin to that of vanishing point perspective in painting. This makes SIIF video games philosophically interesting for both philosophers of film and philosophers of video games. (shrink)

In recent years, poetry and videogames have begun talking to one another in earnest. Poets have found inspiration in digital-interactive landscapes, while game developers now look to poetry as a source of textual enrichment. This book examines the p.

Speedrunning is a kind of ‘metagame’ involving video games. Though it does not yet have the kind of profile of multiplayer e-sports, speedrunning is fast approaching e-sports in popularity. Aside from audience numbers, however, from the perspective of the philosophy of sport and games, speedrunning is particularly interesting. To the casual player or viewer, speedrunning appears to be a highly irreverent, even pointless, way of playing games, particularly due to the incorporation of “glitches”. For many (...) outside the speedrunning community, the use of glitches appears to be cheating. For speedrunners, however, glitches are entirely within the bounds of acceptability. Because of this, however, speedrunning frequently involves sidestepping what are typically taken to be the core challenges of the game. By examining the distinction between the use of glitches and cheating in speedrunning, we can gain a greater understanding of the unique ethos of this activity; that is, we can make sense of what fundamentally constitutes speedrunning as a metagame. I argue that by understanding the code of the game not as rules but as physics, and by examining what actions are deemed impermissible by the speedrunning community – such as hardware modification and hacking – we can see that the ethos of speedrunning has three components: constitutive skills (including dexterity, memorisation and mental fortitude); a collective, fine-grained knowledge of the game and the desire to subvert the intentions of the programmers. Each of these components limits and structures the earlier ones: collective knowledge takes priority over constitutive skills, and subversion takes priority over both. These three components form the ethos that structures speedrunning as a metagame, expressing what speedrunners take to be its central aim. (shrink)

In her provocative 1978 essay, “Eating Meat and Eating People,” (Philosophy Vol. 53, No. 206, pp. 465–479) Cora Diamond asks us to consider Jane Legge’s “Learni.

"ScreenPlay" is the first collection of essays devoted to exploring the relationship between cinema and video games. It attempts to introduce the field of video game studies while also increasing our understanding of the two artforms. Although not all of the essays are models of clear thinking on the subject, the volume will be a valuable resource for those working in film, philosophy, new media, and video game studies. Geoff King and Tanya Krzywinska have brought (...) together a diverse collection of essays where the productive approaches stand out clearly. As a result, one of the most important achievements of the volume is that it allows us to compare methodologies in order to see the kinds of research programs that add the most to our understanding of moving pictures. (shrink)

비디오게임에 관한 논의는 비디오 게임의 영향(중독, 폭력), 혹은 비디오게임을 규정하는 규칙이 무엇인지의 질문에 국한 돼있다. 문제는 이에 따라, 놀이행위(gamic action) 그 자체에 대한 질문은 등한시되고 있다는 점이다. 좀 더 자세히 말하자면, 비디오게임을 하는 것(playing video games)이 어떤 특정한 행위 유형에 속하는지에 대한 물음은 간과되고 있다. 본고의 철학적 반성은 이러한 연구의 맹점을 보완하는 것을 시도한다. 여기서 비디오게임을 하는 것이 특히 ‘수행성’(performativity)과 ‘시각성’(visuality)의 관점에서 더 명료하게 개념화해야한다고 주장될 것이다. 어느정도까지 놀이활동에 대한 철학적-개념적 규명이 특수한 난점을 갖고 있는지에 대한 간략한 역사적-체계적 (...) 논의 후에, 비디오 게임을 하는 것이 어떤 특정한 행위의 의미를 갖는지에 대한 논의가 뒤따를 것이다. 여기서 놀이행위가 ‘관찰-수행적 행위’라는 용어 아래서 개념적 특성이 분석되는, 주체-이론적으로 복합적 행위로서 설명될 것이다. 그리고 주체의 구성과 경험에 놀이행위가 결정적 역할을 수행할 수 있다는 가능성에 대한 전망을 제시하는 것으로 본 연구를 마무리한다. (shrink)

The article discusses the issue of how to categorize video games—not the medium of video games, but individual video games. As a lead in to this discussion, the article discusses video game specificity and genericity and moves on to genre theory. On the basis of this discussion, a cognitive experientialist genre framework is sketched, which incorporates both general points from genre theory and theories more specific to the video game domain. The framework (...) is illustrated through a brief example. One virtue of the framework is that it offers a way to bridge the gap between game ontology and player experience; a brief conclusion discusses how the breadth of this gap may depend upon player biographies and also outlines how further work may proceed. (shrink)

Chronic pain is one of the most disabling medical conditions globally, yet, to date, we lack a satisfying theoretical framework for research and clinical practice. Over the prior decades, several frameworks have been presented with biopsychosocial models as the most promising. However, in translation to clinical practice, these models are often applied in an overly reductionist manner, leaving much to be desired. In particular, they often fail to characterize the complexities and dynamics of the lived experience of chronic pain. Recently, (...) an enactive, affordance-based approach has been proposed, opening up new ways to view chronic pain. This model characterizes how the persistence of pain alters a person’s field of affordances: the unfolding set of action possibilities that a person perceives as available to them. The affordance-based model provides a promising perspective on chronic pain as it allows for a systematic investigation of the interactive relation between patients and their environment, including characteristic alterations in the experience of their bodies and the space they inhabit. To help bridge the gap from philosophy to clinical practice, we unpack in this paper the core concepts of an affordance-based approach to chronic pain and their clinical implications, highlighting aspects that have so far received insufficient attention. We do so with an analogy to playing video games, as we consider such comparative illustration a useful tool to convey the complex concepts in an affordance-based model and further explore central aspects of the lived experience of chronic pain. (shrink)

This article expands on existing models of analyzing business ethics of monetization in video games using the concept of categorical imperatives, as posited by the philosopher Immanuel Kant. A model is advanced to analyze and evaluate the business logics of video game monetization using a Kantian framework, which falls in the deontological category of normative ethics. Using two categorical imperatives, existing models of game monetization are divided into ethical or unethical, and presented using the case example of (...) Star Wars: Battlefront II. This analysis aims to provide video game developers and businesses with ethical guidelines for game monetization which may also be profitable for them in the long term. Within the framework of video game monetization, a deontological analysis is relevant due to the fact that the game developer is engaged in a continuous role of making the game more playable/payable. This article applies Kantian business ethics to the context of a new sector, that of video game businesses, and thereby presents a broader ethical perspective to video game developers, which will help them monetize games in an ethical manner which is also profitable in the long run. (shrink)

The COVID-19 pandemic has shed new light on some significant problems that have been present in the education systems for decades. Тhe lack of various educational methods is becoming more and more evident, leading to a decreasing interest in learning and critical thinking. Оn the other hand, more and more research shows that different types of digital games can enhance creative and critical thinking in students. А closer look at the requirements of the educational programs shows how strict they (...) are in their demands on students. Digital games like role playing games can be a bridge between students’ imaginations and complex educational material. Video games feature a variety of game mechanics that stimulate creative thinking and spark interest in otherwise difficult to understand topics. Motivation and engagement in digital games can be used in a specific way for educational purposes. If we think of teaching as an art in itself, what better method of teaching than through interactive arts. (shrink)

‘비디오게임 하는 것’은 어떤 윤리적 모델을 통해 새로운 방식으로 게임행위를 평가할 수 있는지에 대한 질문을 제기하도록 만들었다. 이러한 맥락 속에서 고전적인 윤리학적 모델 (덕 윤리, 의무론, 공리주의)은 궁극적으로 오직 ‘현실적 행위’에만 적용되고, 비디오 게임의 ‘가상적 행위’에 적용되지 않는다는 논증은 “놀이 무도덕주의” (Ostritsch 2018) 테제로 귀결된다. 이는 특히 노골적인 ‘폭력의 행위’의 경우의 게임 행위가 도덕적으로 판단될 수 있고 그래야만 한다는 공적 토론의 크게 우세한 직감(直感)에 의해 반박되어 왔다. 이러한 양자의 논의 속에 프리드리히 실러 (Friedrich Schiller)의 고전적 놀이 이론에 따른 중간적 입장이 (...) 있다. 이 입장은 실러의 ‘놀이의 전-도덕성’ (pre-morality) 개념과 ‘놀이와 놀이가 아닌것’, ‘현실적인 것과 도덕적으로 평가될 수 있는 행위’를 잇는 개념적-전체적 연관짓기에서 기인한다. 이에 따라, 비록 맥락을 떠나서 도덕적 판단의 주제가 될 순 없을지라도, 다른 행위와의 연관성으로 인해, 게임 행위는 반드시 최소한의 규범적 요구사항을 충족해야만 한다는 주장이 개진될 것이다. 주요하게 논의되고 스캔들화 되는 예시인 ‘Grand Theft Auto’는 이러한 접근 방식의 범위 및 한계를 보여줄 것이다. 결론적으로, 비디오 게임 윤리학의 적절한 이론적 모델과 관련한 질문에 있어, 상황윤리에 대한 지지와 도덕률에 도입에 대한 반대가 강조될 것이다. (shrink)

This article analyzes the business ethics of digital games, using Ayn Rand’s philosophy of Objectivism. It identifies different types of monetization options as virtuous or nonvirtuous, based on Rand’s views on rational self-interest. It divides the options into ethical Mover and unethical Looter designs, presents those logics in relation to an illustrative case example, Zynga, and then discusses a view on the role of players in relation to game monetization designs. Through our analysis of monetization options in the (...) context of Objectivist ethics, the article contributes to discussions on game revenue ethics. It also expands the still understudied area of applying Rand’s ethics to business, in the context of a new sector, game development, and business. This research enables ethicists to apply a wider-than-before perspective on virtue ethics to online business, and helps game developers act in a virtuous manner, which provides them with a long-term business advantage. (shrink)

The A-Theory of time has long struggled with the results of special relativity. One proposed solution is to stipulate the existence of a physically or metaphysically privileged frame which defines the global present for all observers. Recently this proposal has cropped up in literature on spatially closed universes (SCUs) which seem to naturally instantiate such structures. This paper examines the privileged frame proposal through the lens of SCUs, arguing that even in these space-times which seem overwhelmingly friendly to A-theoretic accounts (...) the theory face insurmountable challenges. (shrink)

Considered a sign of the ‘coming of age’ of video games as an artistic medium, the award-winning BioShock franchise covers vast philosophical ground. _BioShock and Philosophy: Irrational Game, Rational Book _presents expert reflections by philosophers on this critically acclaimed and immersive fan-favorite. Reveals the philosophical questions raised through the artistic complexity, compelling characters and absorbing plots of this ground-breaking first-person shooter Explores what _BioShock_ teaches the gamer about gaming, and the aesthetics of video game storytelling Addresses (...) a wide array of topics including Marxism, propaganda, human enhancement technologies, political decision-making, free will, morality, feminism, transworld individuality, and vending machines in the dystopian society of Rapture Considers visionary game developer Ken Levine’s depiction of Ayn Rand’s philosophy, as well as the theories of Aristotle, de Beauvoir, Dewey, Leibniz, Marx, Plato, and others from the Hall of Philosophical Heroes. (shrink)

Metagames: Games About Games scrutinizes how various meta devices, such as breaking the fourth wall and unreliable narrator, change and adapt when translated into the uniquely interactive medium of digital games. Through its theoretical analyses and case studies, the book shows how metafictional experimentation can be used to both challenge and push the boundaries of what a game is and what a player's role is in play, and to raise more profound topics such as those describing experiences (...) of people of oppressed identities. The book is divided into six chapters that deal with the following meta devices: breaking the fourth wall, Hypermediation, unreliable narrator, abusive game design, fragmentation, and parody. The book will predominantly interest scholars and students of media studies and game studies as it continues discourses held in the discipline regarding the metareferential character of digital games. (shrink)

We argue that pedagogic authority relies on love, which is misunderstood if seen as a matter of actions and subjects. Love is based not on finite subjects and objects existing in Euclidean space and linear time, but, rather, on the non-finite ontology, space and time of relations. Loving authority is a matter of calling and vocation, arising from the spontaneous and simultaneous call-and-response of a lively relation. We make this argument through a reading of Buber’s I–You relation and Murdoch’ s (...) account of the responsiveness of ascetic discipline. In presenting this analysis, we draw upon a case study from a research project on Australian teachers and students. (shrink)

What role do imaginary games have in story-telling? Why do fiction authors outline the rules of a game that the reader will never watch or play? Combining perspectives from philosophy, literature and game studies, this book provides the first in-depth investigation into the significance of games in fictional worlds. With examples from contemporary cinema and literature, from The Hunger Games to the science fiction of Iain M. Banks, Stefano Gualeni and Riccardo Fassone introduce four key functions (...) that different types of imaginary games have in worldbuilding. First, fictional games can emphasize the dominant values and ideologies of the fictional society they belong to. Second, some games function as critical, utopian tools, inspiring shifts in the thinking and political orientation of the fictional characters. Third, imaginary games, especially those with a magical component, are conducive to the transcendence of a particular form of being, such as the overcoming of human corporeality. And fourth, fictional games can deceptively blur the boundaries between the contingency of play and the irrevocable seriousness of "real life", either camouflaging life as a game or disguising a game as something with more permanent consequences. With illustrations in every chapter, bringing the imaginary games to life, Gualeni and Fassone creatively inspire us to consider fictional games anew: not as moments of playful reprieve in a storyline, but as significant and multi-layered rhetorical devices. (shrink)

The return of a classic book about games and play that illuminates the relationship between the well-played game and the well-lived life. In The Well-Played Game, games guru Bernard De Koven explores the interaction of play and games, offering players—as well as game designers, educators, and scholars—a guide to how games work. De Koven's classic treatise on how human beings play together, first published in 1978, investigates many issues newly resonant in the era of video (...) and computer games, including social gameplay and player modification. The digital game industry, now moving beyond its emphasis on graphic techniques to focus on player interaction, has much to learn from The Well-Played Game. De Koven explains that when players congratulate each other on a “well-played” game, they are expressing a unique and profound synthesis that combines the concepts of play (with its associations of playfulness and fun) and game (with its associations of rule-following). This, he tells us, yields a larger concept: the experience and expression of excellence. De Koven—affectionately and appreciatively hailed by Eric Zimmerman as “our shaman of play”—explores the experience of a well-played game, how we share it, and how we can experience it again; issues of cheating, fairness, keeping score, changing old games (why not change the rules in pursuit of new ways to play?), and making up new games; playing for keeps; and winning. His book belongs on the bookshelves of players who want to find a game in which they can play well, who are looking for others with whom they can play well, and who have discovered the relationship between the well-played game and the well-lived life. (shrink)

Games may seem like a waste of time, where we struggle under artificial rules for arbitrary goals. The author suggests that the rules and goals of games are not arbitrary at all. They are a way of specifying particular modes of agency. This is what make games a distinctive art form. Game designers designate goals and abilities for the player; they shape the agential skeleton which the player will inhabit during the game. Game designers work in the (...) medium of agency. Game-playing, then, illuminates a distinctive human capacity. We can take on ends temporarily for the sake of the experience of pursuing them. Game play shows that our agency is significantly more modular and more fluid than we might have thought. It also demonstrates our capacity to take on an inverted motivational structure. Sometimes we can take on an end for the sake of the activity of pursuing that end. (shrink)

The Paradox of Transgression in Games looks at transgressive games as an aesthetic experience, tackling how players respond to game content that shocks, disturbs, and distresses, and how contemporary video games can evoke intense emotional reactions. The book delves into the commercial success of many controversial videogames: although such games may appear shocking for the observing bystander, playing them is experienced as deeply rewarding for the player. Drawing on qualitative player studies and approaches from media (...) aesthetics theory, the book challenges the perception of games as innocent entertainment, and examines the range of emotional, moral, and intellectual experiences of players. As they explore what players consider transgressive, the authors ask whether there is something about the gameplay situation that works to mitigate the sense of transgression, stressing gameplay as an aesthetic experience. Anchoring the aesthetic game experience both in play studies as well as in aesthetic theory, this book will be an essential resource for scholars and students of game studies, aesthetics, media studies, philosophy of art, and emotions. (shrink)

The seven articles that constitute this special issue illustrate scholarly interactions between philosophy and game studies. The wide range of game types/genres and the multiple philosophical issues concerning them are rich and productive. They indicate well the significant contribution that philosophical approaches can make to further development of scholarly understandings of computer games and gaming. Each article breaks new conceptual ground in ways likely to resonate within the new discipline of computer game studies but also, beyond this, in (...) other disciplinary fields wherein video games and digital entertainment cannot be ignored. All are either original works submitted in response to an open call for contributions, or reworked versions of papers presented at earlier Philosophy of Computer Games conferences, and not previously published elsewhere. (shrink)

In The Interface Envelope, James Ash develops a series of concepts to understand how digital interfaces work to shape the spatial and temporal perception of players. Drawing upon examples from videogame design and work from post-phenomenology, speculative realism, new materialism and media theory, Ash argues that interfaces create envelopes, or localised foldings of space time, around which bodily and perceptual capacities are organised for the explicit production of economic profit. Modifying and developing Bernard Stiegler's account of psychopower and Warren Neidich's (...) account of neuropower, Ash argues the aim of interface designers and publishers is the production of envelope power. Envelope power refers to the ways that interfaces in games are designed to increase users perceptual and habitual capacities to sense difference. Examining a range of examples from specific videogames, Ash identities a series of logics that are key to producing envelope power and shows how these logics have intensified over the last thirty years. In turn, Ash suggests that the logics of interface envelopes in videogames are spreading to other types of interface. In doing so life becomes enveloped as the environments people inhabit becoming increasingly loaded with digital interfaces. Rather than simply negative, Ash develops a series of responses to the potential problematics of interface envelopes and envelope power and emphasizes their pharmacological nature. (shrink)

Situational Design lays out a new methodology for designing and critiquing videogames. While most game design books focus on games as formal systems, Situational Design concentrates squarely on player experience. It looks at how playfulness is not a property of a game considered in isolation, but rather the result of the intersection of a game with an appropriate player. Starting from simple concepts, the book advances step-by-step to build up a set of practical tools for designing player-centric playful situations. (...) While these tools provide a fresh perspective on familiar design challenges as well as those overlooked by more transactional design paradigms. Key Features Introduces a new methodology of game design that concentrates on moment-to-moment player experience Provides practical design heuristics for designing playful situations in all types of games Offers groundbreaking techniques for designing non-interactive play spaces Teaches designers how to create games that function as performances Provides a roadmap for the evolution of games as an art form. (shrink)